The production of a modern stage performance is a complex undertaking. This is partially due to the complicated interaction of various effects created by the combination of lighting and sound apparatus. The designer of these effects combines all of these effects into a cohesive whole which furthers the artistic aims of the performance.
A myriad of details must be considered and planned in this design process. Designers or technicians must envision and create appropriate lighting and sound effects. That requires planning of numerous details of the equipment. These details include the location and operation of the equipment, wiring and location of the equipment at the desired locations, assembly and disassembly, and moving of this equipment between locations.
The design of stage lighting effects require the selection and configuration of numerous lighting fixtures, each of which has many adjustable parameters. For example, each light fixture can be adjusted in many ways, including position adjustment, intensity, color, and beam size. These parameters must be set to a very high degree of accuracy in order to satisfy the requirements of the designer. The effect also needs to be timed to coincide with the proper time in the show based on the musical program.
Previous design processes have used disorganized techniques for planning the operation, e.g., on paper, or by trial and error using actual equipment on a stage. To a certain extent, the designers must rely upon their own ability to visualize and predict the effects of a given lighting design.
Some progress has been made to improve the stage lighting design process by the use of computer lighting simulation systems such as MAC ICON, available from Light and Sound Design, Limited of Birmingham, England, and WYSIWIG, available from Flying Pig Systems, Inc. Both of these systems calculate and simulate lighting effects based on the lighting parameters that are indicative of a lighting show.
These lighting simulation systems produce a two-dimensional simulation of lighting effects on a stage. However, such systems are limited by the lack of realism in the two-dimensional display. Further, the complex user interfaces of these systems has generally restricted their use to designers having experience with such systems. Moreover, the two dimensional display of the inherently three dimensional effect has made it difficult for the designer to visualize the end result.
Once designers complete the lighting (and/or sound) design process, they must resolve a number of other practical issues before the desired effects can be implemented. This requires selecting appropriate lighting devices and parameter settings, and the dynamics and sequence of the desired effects.
The designer/technician must also configure electrical and structural systems to support and interconnect all of the lighting and sound apparatus in the appropriate location. The structural components include, for example, trusses and rigging, chains and chain motors which are used to raise the trusses and rigging. Also, each lighting fixture must be connected to cables which act as the source of power and control. Therefore, each show requires a routing plan to locate these cables in an efficient path from the fixtures to a source of power and/or control.
The lighting design also needs to account for the unique requirements of each stage. Conventionally, a drawing is used to model the stage to determine where the rigging, trusses and cables will be placed. This drawing is then used to determine where all of the cables will be routed, including the lighting fixtures, dimmer racks, consoles, or other locations. It is now common to use this drawing to locate the structural elements, and to decide what lengths of cables are required, by actually measuring the lengths on the scale drawing. Then, numerous cables are cut and constructed to the desired lengths.
Other structural considerations include determining the location in the building where trusses can be hung. Different points in the roof and walls of different structures have different loading capabilities. The designer must consider the weight and forces of these load points on the structure to ensure that known capacities of the structure are not exceeded.
Problems can arise with the above-described design process. For example, creating drawings is very time consuming. Errors often occur in measurements made using these drawings. There may not be time to correct such errors given the severe time constraints in the construction of stage performances. This is particularly true in shows that travel frequently. Also, calculation of structural load values and limits is time consuming and prone to human error.
Moving the lighting and sound equipment presents another challenge for stage production. Crews assemble, disassemble, pack, and transport lighting and sound equipment. Loading these items onto a truck requires careful consideration of many factors, which is usually done by a highly experienced road boss. For example, some fixtures ride better in certain parts of the truck. It may be desirable to locate heavier items, such as dimmer racks, towards the front of the truck. Once a certain amount of weight has been placed on one portion of the truck, additional heavy items should be placed on another part of the truck, or in a separate truck.
It is also important to consider the stacking ability of each item. This defines the kinds of items, and the maximum weight, that can be placed on top of a given item without causing damage. It is important to consider the size and arrangement of items to optimize usage of truck space. This minimizes the number and size of the trucks.
The sequence of packing and unpacking is also important. For example, since trusses support the entire lighting apparatus, packing them in the front of the truck necessitates unloading the entire truck before set up can begin. This dictates a preference for loading the trusses last so that they can be removed first. Similar considerations apply to rigging equipment, including motors, span sets and other devices used for handling trusses. There is no need to unload truss-hung lights until the trusses are unloaded. However, it is acceptable to unload floor mounted lights, at any time so they do not need to be packed in a specific location. Also, when multiple trucks are used, the road boss must consider which crews are packing and unpacking different areas at different times to avoid different crews interfering with each other.
Currently, all of these considerations enter into decisions regarding when and where to pack items in a truck. Performing this task often leads to inefficient truck packing, because of the difficulty in visualizing and planning for all of these packing considerations. Unfortunately, trial and error is slow and error prone. This can result in delays or damage to the equipment and/or truck.
Another problem is timing. Shows must be frequently put together and taken apart in order to allow them to arrive in the proper place at the proper time. Usually the road boss makes an estimate of how long the truck packing, driving, and unpacking will take, and tries to operate based on those estimates. However, this requires experience and is prone to errors. The actual operation could take much more or less time.
Another interesting feature noted by the inventors of the present invention was the possibility of simulation of a performance, using a karaoke style.